The Yashica FX-D 100 appears to be modelled on the FX-7 Super SLR sold by the original Yashica company (and reportedly manufactured by Cosina) in the early 1980s.
Image: Yashica
In all the buzz and chatter around the launch of Fujifilm's X half, we missed the quieter announcement of another digital camera with a film advance lever: the Yashica FX-D 100. This has now been joined by two sister models, the FX-D 300 and FX-D S300. All three cameras are being funded via Kickstarter.
The FX-D 100 and FX-D 300 have a blanking plate where you'd expect a viewfinder.
Image: Yashica
All three cameras are designed to approximately resemble the original Yashica FX-7 Super film SLR, but a fair bit smaller. All three are built around very small sensors. The least-expensive FX-D 100 model has an optical zoom lens, while the more expensive FX-D 300 and S300 have a fixed lens with a ring around the lens controlling digital zoom / cropping. Only the most expensive of the three models has an electronic viewfinder, the other two have a blanking plate over the back of the finder hump.
FX-D 100
FX-D 300
FX-D S300
MSRP ('Early bird' price)
$359 ($239)*
$549 ($339)*
$679 ($459)
Pixel count
13MP
50MP
50MP
Sensor size
Type 1/3 (17mm²)
Type 1/1.56 ()
Type 1/1.56 ()
Lens
3.45-10.5mm F1.6-2.8 (25-mm equiv)
5.68mm F1.8 (24mm equiv)
5.68mm F1.8 (24mm-equiv)
Stabilization
No
Yes, 3-axis
Yes, 3 axis
EVF
No
No
Yes, unknown spec
Focus options
MF / AF
AF / Full-timeAF
AF / Full-time AF
*Campaign ended
The FX-Ds are the second generation of digital cameras to be sold via Kickstarter, following the revival of the Yashica name on the Y35 camera in 2017, which raised over $1M on the platform. That camera, which also married a small sensor and film simulation concept to a design that visually mimicked a film-era Yashica camera, was met with reviews that ranged from critical to scathing.
The FX-D 300 and S300 have a fixed 24mm equivalent lens that can crop to deliver the 60mm equiv field of view listed on the front of the camera. All three FX-D models have flip-forward LCDs.
Image: Yashica
Somewhat concerningly, the FX-D 100's lens specs are a match for the company's City 100 model, which again, hasn't been well received. Both '300' models use the same 50MP sensor and 24mm equiv prime lens used by the upcoming City 300, which promises a 24-60mm equiv range, by cropping into an 8MP region to give the 60mm equivalent view.
Unlike the Y35, all three FX-D cameras have a (fold-forward) rear screen and let you choose between film simulation modes without having to slot a 'film' module into the back of the camera. All three cameras include six virtual filmstocks:
Ruby 60s
Sapphire 70s
Yashica 400
Golden 80s
Mono 400
Black and White 400
The company says it's working on building Raw capability into the FX-D 300 models.
The FX-D S300 has an electronic viewfinder, though we haven't found any details of its specifications.
Image: Yashica
The Yashica name appears to currently be owned by a Hong Kong company called JNC Datum Tech, which is owned by the MF Jebsen Group. It has been used for a wide range of products, including being licensed to Kickstarter film module company, I'm Back.
This is a slightly different situation to Kodak, where the post-bankruptcy remains of the original Eastman Kodak company still controls who gets to license and use its brand name.
Happy Friday, folks. Outside of the significant firmware update for the Nikon Z8 (which has had some drama since being available for download), it's been relatively quiet on the firmware front. That said, there are some minor updates for Nikon, OM System, Fujifilm and Sigma cameras and lenses. Read on to see what's new.
Nikon
First and foremost, a PSA. The firmware update for the Nikon Z8 was officially made available for download at the beginning of July, but with it came some trouble. First, updating to the Z8 Ver 3.00 could result in functionality issues with Tamron lenses. Tamron says it's working on a solution, but there hasn't been an update at the time of writing. You may want to hold off on updating your Z8 if you use Tamron lenses as a result.
Perhaps more significant is that Nikon (and Viltrox) issued a warning not to update your camera's firmware with third-party lenses or mount adapters. This warning was initially only on the Z8 firmware download page, but is now also on other recent firmware pages.
Nikon hasn't specified what could happen if you don't listen to that advice other than saying it "could result in camera malfunction." If you are updating to any of the firmware options below, please make sure to remove any third-party lenses and mount adapters.
With that out of the way, here's what's new for Nikon cameras.
Extended the dimensions of focus areas available with [Wide-area AF (C1)] and [Wide-area AF (C2)] AF-area modes.
The subject detection function became available during manual focus.
The subject detection area selection is now available for manual focus.
Added support for “Flexible Color” Picture Controls.
Added a [C15] high-speed frame capture + release mode option.The image quality for high-speed frame capture + can now be set separately from other release modes.
Added [High ISO NR mode] in [PHOTO SHOOTING MENU] that allows to select a noise reduction processing mode.
Added frequency setting mode to [High-frequency flicker reduction] in [PHOTO SHOOTING MENU] that allows frequency presets to be configured.
[Options] has been added under [Focus shift shooting] in the [PHOTO SHOOTING MENU] to allow [Pixel shift shooting] to be used together with focus shift shooting.
[Options] has been added under [Pixel shift shooting] in the [PHOTO SHOOTING MENU] to allow [AE bracketing] to be used together with pixel shift shooting. [Starting storage folder] has also been added.
[Pixel shift shooting] options can now be set when the self-timer mode is selected.
Added and changed the following functions to [Auto capture] in [PHOTO SHOOTING MENU].
Date and time to start auto capture can now be configured in advance
Auto capture is now available with camera’s manual focus settings
The appearance and some item names in the settings display have been changed
The detection range available for [Advanced: Distance] has been extended
Auto capture is now compatible with the new [C15] release mode option
A yellow frame is now displayed during auto capture
The Profoto A10’s continuous LED light can now be used as an AF-assist illuminator. Note: The firmware update is needed for Profoto A10. See Profoto’s corporate website for details.
Video Recording
Extended the dimensions of focus areas available with [Wide-area AF (C1)] and [Wide-area AF (C2)] AF-area modes.
The subject detection function became available during manual focus.
The subject detection area selection is now available for manual focus.
Added support for “Flexible Color” Picture Controls.
Added and changed the following functions to [Auto capture] in [VIDEO RECORDING MENU].
Date and time to start auto capture can now be configured in advance
Auto capture is now available with camera’s manual focus settings
The appearance and some item names in the settings display have been changed
The detection range available for [Advanced: Distance] has been extended
A yellow frame is now displayed during auto capture
Selecting [ON] for [Hi-Res Zoom] in the [VIDEO RECORDING MENU] now displays a focus point on the detected subject in the shooting display.
Added a function to include file names used in the camera when recording videos to an external recorder that supports file name transmission via HDMI. The following Atomos external recorders support this function (as of May 2025).
Ninja V *
Ninja V+ *
Ninja (2023 models)
Ninja Ultra
Shogun (2023 models)
Shogun Ultra
Shogun Connect * * Some recorders may require an ATOMOS OS upgrade or paid activation of the recorder. Contact ATOMOS for details.
Playback
Added [Date] to [Filtered playback criteria] in playback menu and playback “i” menu.
Added [Customize retouch options] to [Retouch] in the playback “i” menu.
Added [Auto-rotate during playback] to the playback menu. Controls
Added a [Maximum aperture Lv] item to the [CUSTOM SETTINGS MENU] in position of a14.
Added a [Focus limiter setting] item to the [CUSTOM SETTINGS MENU] in position of a16.
Added a [Minimum] option to Custom Setting c2 [Self-timer] > [Interval between shots] in the [CUSTOM SETTINGS MENU].
Added [Auto capture] to the roles assignable to the “i” menu via [CUSTOM SETTINGS MENU] > f1 and g1 [Customize <i> menu].
Added assignable custom controls and roles to the following items in the [CUSTOM SETTINGS MENU]. Also, the options for [Zoom on/off] have changed.
f2 [Custom controls (shooting)]
g2 [Custom controls]
Added assignable custom controls and roles (for example, [Jump to the source image] and [Trim]) to [CUSTOM SETTINGS MENU] > f3 [Custom controls (playback)].
Network
Added [Wi-Fi connection (STA mode)] which allows you to connect the camera to the smart device via a wireless LAN access point.
Port numbers can now be specified using [Connect to FTP server] in [NETWORK MENU].
Added [Upload in HEIF format] to [Connect to FTP server] > [Options] in [NETWORK MENU]. Note: Converted HEIF images are not stored on the memory card.
Other Changes
Voice memo recording is now available with external microphones.
The speed at which the camera cycles through focus points using the multi selector or sub-selector no longer slows down when changing direction.
The tonal characteristics have been changed when [ON] is selected for Custom Setting g14 [View assist] in the [CUSTOM SETTINGS MENU].
The camera now records company and model names in the video metadata recorded with [ProRes 422 HQ 10-bit (MOV)] selected for [Video file type] in the [VIDEO RECORDING MENU].
Added support for “NX Field*”, a remote shooting system for corporate users.
* Visit the “NPS” website for overview and user’s manual of NX Field.
Updated some guidance texts displayed on the camera when connecting to the Nikon Imaging Cloud service (the connection procedure itself remains unchanged).
Updated some guidance texts displayed on the camera when connecting to the Nikon Imaging Cloud service (the connection procedure itself remains unchanged).
Changed the camera name displayed when pairing with SnapBridge.
Changed the camera name displayed on USB-connected devices when [iPhone] was selected for [USB] in the [NETWORK MENU].
Renamed d13 [Display on during burst] in [CUSTOM SETTINGS MENU].
“FILM CAMERA MODE” is unintentionally deactivated when the shutter release button is held down fully for about 1 second after “AUTO POWER OFF” is activated with “FILM CAMERA MODE”.
The thumbnail image of the recorded image may become abnormal in rare cases if the “Frame Advance Lever” is operated so quickly after shooting with the “GRAIN EFFECT” setting ON in “FILM CAMERA MODE”.
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We tried to make vlogging the main focus of our Canon PowerShot V1 review, but we know that its combination of a large sensor and unusually wide lens caught the attention of a lot of photographers.
We also thought about how it stacked up in that regard, and found it's a little closer to RX100 territory than G1 X levels of usability. Unfortunately it's not RX100-like in terms of size.
Of course if you really want a relatively small camera with an ultrawide lens, the V1 is one of your only choices. In which case, it's still worth considering, but we thought we should make clear what the experience is like, before you commit your money to it.
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Photo: Richard Butler
When we reviewed the Panasonic S1RII, we chose to mainly focus on its stills performance, as Panasonic had already announced it was working on a software update to add several additional video modes. That update recently arrived, so we took the S1RII back to our studio scene to evaluate its performance across its wide variety of framerates and resolutions, including the newly added 8.1K open-gate mode.
Image Comparison
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Let's start by looking at that mode, which records a 3:2, 8064 x 5376 image using (almost) the entire sensor. Unsurprisingly, it offers a noticeable increase in detail captured compared to the downsampled ~∼6K open-gate capture that Panasonic originally shipped with the camera, and the 6K open-gate modes found in its other models like the S5II/X and S9. Most people shooting in this mode will be doing so because they want flexibility to reframe their shots in post, and the higher resolution offers even more of that; you can crop in even further while still retaining a native 4K resolution.
The camera's UHD 8K and 1.89:1 "8.1K"* capture are derived from this open-gate region, and have the same level of detail, though are less flexible in post thanks to their more delivery-ready aspect ratios. Still, if you plan on outputting in 4K, they'll offer at least some room to move the frame around.
Standard 4K 24p output is on par with the oversampled modes from other high-res cameras like Canon's EOS R5 II and the Nikon Z8, though the S1RII's rolling shutter rate will be considerably higher; see the chart below for its readout speeds. Compared to those cameras' subsampled 4K modes, which are mainly useful for avoiding overheating or accessing higher framerates, the S1RII's footage provides finer detail.
UHD
DCI
Crop
Rolling shutter
Crop
Rolling shutter
8K, 5.xK*, 4K 30/25/24
1.00
24.9ms
1.00
22.4ms
5.xK*, 4K 50/60
1.11
15.4ms
1.04
15.3ms
4K 100/120
1.17
7.3ms
1.10
7.3ms
4K/30 DRExp*
1.00
31.7ms
1.00
29.8ms
*8.1K and 5.9K modes give the same results as DCI 4K, 8.0K and 5.8K matches UHD
The story is much the same at 60p, where the S1RII's 4K footage retains a similar level of detail found in the 24p mode, which is good news for anyone hoping to slow their footage down a mild amount, or who prefer the hyper-real look. It does, however, come with a slight crop, and the lower rolling shutter rates strongly imply that it's derived from a 12-bit readout rather than a 13-bit one.
While 60p isn't available in the open-gate modes, you can shoot it at greater-than-4K resolutions; it's available in the 16:9 5.9K mode and the 1.89:1 5.8K mode, which offer slightly more detail than their 4K counterparts.
120p is only available in 4K resolutions, and the capture has a noticeable loss in detail compared to lower framerates; the S1RII is obviously skipping lines to achieve these readout speeds. (Spoiler: Panasonic makes cameras with faster sensors much better suited to shooting at 120p if that's vital to you; stay tuned.)
Raw video
The S1RII has several options for Raw video recording, including the ability to output 8.1K open-gate Raw to a supported BlackMagic or Atomos recorder via HDMI as of the latest firmware update. It can also record ProRes and ProRes Raw to a CFexpress card using an up-to 5760 x 4030 native-pixel crop (though there are currently no 16:9 options).
Raw video doesn't offer the dramatic benefits that stills shooters may be used to
We'd only recommend a Raw workflow to those working on professional productions that have a compelling reason to use it. While Raw recording can offer more flexibility to adjust parameters like white balance and brightness ('ISO') in post, as we've detailed before, it doesn't offer the dramatic benefits that stills shooters may be used to from comparing Raw and JPEG files.
Shooting Raw also requires substantial post-processing to add back in noise reduction and sharpening. And while ProRes Raw gained support for lens correction data in 2023, Panasonic's implementation currently doesn't support it, unlike Canon or Nikon's cameras. This adds further work if you're shooting with modern lenses designed with geometric distortion correction as part of their optical formulas instead of older or cinema glass (which, realistically, is what most people shooting Raw will be using).
Despite all the modes we've covered, this article is far from comprehensive. The S1RII has an overwhelming number of resolution and framerate combinations; more than any single filmmaker or videographer is ever likely to use, but enough that it's flexible enough that pretty much anyone could use it to accomplish their goals.
It provides exceptional image quality at its higher resolutions, and its standard 4K options are also on par with the best hybrid cameras around, even when bumping up to higher framerates. While it can't match Stacked sensor cameras in every spec, it's also considerably cheaper and provides a suite of video assistance and workflow tools that's unmatched by other companies' hybrid mirrorless cameras.
* The S1RII's sensor doesn't quite have enough pixels to capture the 8192 x 4320 DCI 8K standard
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Sony a7R V | Tamron 16-30mm F2.8 Di III VXD G2 | F2.8 | 1/30 sec | ISO 400 Photo: Mitchell Clark
This week, Tamron announced the 16-30mm F2.8 Di III VXD G2, a wide-angle zoom lens for Sony E mount and Nikon Z mount. We've gotten the chance to shoot with it in a variety of scenarios, and have put together a sample gallery to give you some idea of how it performs. We've also added a few new photos since we originally published the gallery alongside the announcement of the lens.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample gallery
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Nikon has recently released a feature-packed update for the Z8, but its rollout appears to have hit a few snags with regards to third-party lenses.
Issues updating
Nikon users looking to update their camera's firmware should first remove any third-party lenses, according to warnings from Viltrox and Nikon. Failing to do so could cause issues with lens functionality.
A warning on the newly released Nikon Z8 firmware download page says, "Do not update the camera firmware with lenses other than Z-mount NIKKOR lenses or mount adapters other than FTZ II/FTZ attached." It goes on to say that not following that warning could cause "camera malfunction."
Viltrox also has a statement on its website saying essentially the same thing as Nikon. "We’ve recently become aware of a new notice issued by Nikon, advising users not to update their Nikon camera firmware while a third-party lens is attached, as this may cause potential issues or malfunctions," the statement reads, in part. Viltrox instructs users to reach out via info@viltrox.com if they experience issues after a firmware update.
While the companies don't specify what the potential malfunction is, it appears that the Z8 update could impact communication between the camera and lens, causing issues with autofocus or potentially rendering the lens inoperable.
Post-update issues
Tamron has also issued a statement about the new firmware, but it appears to be about issues occurring after the upgrade, not during it. "After updating the Nikon Z8 to firmware version 3.00, some TAMRON lenses may experience limitations in functionality," the company says, adding that its team is "working hard to analyze the cause and find an appropriate solution."
DPReview readers have been sharing what they've encountered since updating their Z8's firmware on our forums. One DPReview reader shared that all of their Tamron lenses stopped working after updating the Z8 firmware. Another said their Tamron 70-300mm only works when the Focus Limiter setting is off after updating the Z8 firmware.
The issues seem to be exclusive to the Z8 firmware and not smaller firmware updates that recently came out for Nikon's other cameras. However, to be safe, it's best to remove any third-party lenses or third-party adapters before updating any Nikon firmware. If you've already updated your Z8 firmware to Ver 3.00 and are having issues, you could try downgrading to Ver 2.10.
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We tried to make vlogging the main focus of our Canon PowerShot V1 review, but we know that its combination of a large sensor and unusually wide lens caught the attention of a lot of photographers.
We also thought about how it stacked up in that regard, and found it's a little closer to RX100 territory than G1 X levels of usability. Unfortunately it's not RX100-like in terms of size.
Of course if you really want a relatively small camera with an ultrawide lens, the V1 is one of your only choices. In which case, it's still worth considering, but we thought we should make clear what the experience is like, before you commit your money to it.
The New York Times article focuses primarily on Kodak Apparel, a licensee of the Kodak name in South Korea
Photo: Kodak Apparel
An article in the New York Times draws attention to the way the Kodak brand is being used, now that the company itself has left the consumer photo market. It gives an interesting insight into the value of legacy photo brand names in a time when online retail is flooded with near-infinite choice and seemingly ephemeral branding.
Eastman Kodak, these days primarily an industrial printing business, licenses the classic Kodak name and branding to 44 different companies. Its name is now used on everything from clothing to eyeglass lenses (via RayBan maker, EssilorLuxottica), solar panels to camera straps, TVs and paint.
In the camera space alone, its name is used by JK Imaging, which makes Kodak-branded PixPro digital cameras (having previously used 'GE' branding). Prinics and C + A Global, which make Kodak-branded instant cameras for different markets, Meta Imaging, which makes 35mm film compacts and Reto Production, which makes the Kodak Ektar-branded half-frame film cameras.
The risks of licensing
And while this may sound like the company is just lending its name to anyone with a checkbook, there's a risk to picking the wrong partners. As it identified in the 'risks' section of its annual report, any harm to its brand or reputation can damage the company's bottom line. As it points out: "Consumers and the public may view the products and activities of brand licensees as the products and activities of Kodak."
The Kodak Thrust UAV Riot sport drone, launched in conjunction with an education company, wasn't even Kodak's most ill-judged licensing exercise of 2018.
Look at the company's figures and it starts to make sense why Eastman Kodak casts its net so wide. In terms of revenue, Eastman Kodak's 'Brand' division, responsible for licensing, seems small. It generated $20M in 2024, making up just 1.9% of sales for a company with revenues of around $1BN. However, since there are very few costs associated with this income, Brands contributed $17M to the company's earnings, before interest, taxes, depreciation and amortization: 65% of the annual earnings associated with its different divisions.
The recently released Kodak PixPro C1, a $99 compact with a Type 1/3 (4.8 x 3.6mm) sensor and a fixed 26mm equiv lens. Licensing the name to companies such as JK Imaging, which makes the PixPro range, generates more income for Eastman Kodak than manufacturing photo film does.
Image: Kodak / JK Imaging
And, although it's not possible to pull out exact figures, it's worth noting that Kodak Alaris, the company that owns the former Eastman Kodak photo film business, tends to make up around 34% of the revenues of the 'Advanced Materials and Chemicals' division, which contributed a similar $17M to EBITDA. In other words, allowing the brand name to be used on all those clothes, USB drives and digital cameras generates somewhere around three times more income for Eastman Kodak than manufacturing photo film does.
Heritage, misfires and zombie brands
To us, Kodak Apparel looks like a thoughtful way to use the brand without undermining its heritage, which isn't always the case. So we're planning to look at a few other grand (and not-so-grand) names from photo history that are still being used today. Let us know if you've seen any especially ill-judged bits of branding, or examples of zombie brand names that are inexplicably still being reanimated.
Sony has increased US pricing for most of its imaging products, seemingly in response to tariffs levied by the country. While the company raised prices for some of its lenses and cameras back in May, it wasn't an across-the-board increase, as some gear, such as the a7R V, was untouched. However, that's no longer the case – very few products are left at the prices they were at the beginning of the year.
To see the changes, we looked at pricing at B&H, Sony's US website and Amazon, and compared those to launch prices and historical pricing at those sites. Of the items we looked at, the increases ranged from 7% to 34%, though the average fell right at 13%. Even gear that was initially unscathed by tariff pricing has now been impacted. The aforementioned Sony a7R V was still at its original MSRP of $3,900 in May, but it is now up to $4,200.
Sigma, Nikon and Canon have all increased prices by around 10%, which is in line with the 10% baseline tariff placed on imports from almost all countries. Sony's 13% isn't well beyond that, so it's possible there are multiple factors at play, or it could entirely be tariff-based. Sony has yet to comment on tariff-related prices publicly, so there's no official word on how various products have been impacted.
Either way, these higher prices raise questions about what happens come July 9, when the 90-day pause on the full tariff rates is set to expire. After that date, tariffs could jump to 24% on Japanese goods, 37% on imports from Thailand and 46% on Vietnamese products, depending on how negotiations play out. The pause on full tariffs on goods from China runs through August 12. It appears that a deal with China is in the works, but there's still a chance that prices on Chinese-made goods could rise substantially for US customers. Sony could absorb some of the higher costs, but given how high some of the rates are, it seems possible that prices could rise even further if trade deals aren't worked out soon.
The Canon PowerShot V1 is a vlogging compact built around a large sensor and a 16-50mm equivalent zoom lens. Despite its focus on video, which extends to a cooling fan for extended capture periods, its similarity to the PowerShot G1 series of large-sensor enthusiast compacts has caught the attention of photographers.
Key features:
22MP Type 1.4 (18.4 x 12.3mm) Dual Pixel AF CMOS sensor
16-50mm equiv. F2.8-4.5 zoom lens with 3EV ND filter
Full-width 4K up to 30p from 5.7K capture
4K/60p from a 1.4x crop
Up to 30 fps stills capture in e-shutter mode
Cooling fan for extended video recording
Wired or wireless video streaming
Multi-function hotshoe for flash or audio accessories
Fully-articulated rear touchscreen
Headphone and mic sockets
The Canon PowerShot V1 was originally announced as costing $899 in the US. Elsewhere, pricing was set at €999 and £959, including VAT. However, the US price has subsequently risen to $979.
The V1 is Canon's first high-end vlogging compact, with a multi-module mic on top and a cooling fan to extend its recording duration. But, while its wide-angle lens points at its ambitions to help self-filming social mediaists, its use of a roughly-four-thirds-sized sensor and a zoom lens can't help but evoke the more stills-focused PowerShot G1 X cameras.
The sensor's specs are a match for using a similarly sized chunk of the EOS R7's chip. Both need to crop into the same size of their sensor to deliver 4K/60, but the smaller 'full image' region on the V1 means the difference between the full-width and cropped areas is much less dramatic than was the case with the R7.
The camera is built around a 16-50mm equivalent F2.8-4.5 stabilized lens with a leaf shutter that appears to operate using an electronic first curtain shutter, limiting its maximum flash sync speed to (a still very respectable) 1/400 sec. There's a built-in 3EV ND filter to help you keep to video-friendly shutter speeds in bright light. It can be set to activate automatically in video mode and can be manually engaged when shooting stills.
It has a built-in fan and fully articulating touchscreen but there's no built-in flash or electronic viewfinder, nor the option to fit one.
Body and handling
The degree to which the V1 has prioritized vlogging becomes apparent when you pick it up: the body is surprisingly deep, as a result of the fan-cooled chamber at the back of the camera, and the grip is unexpectedly shallow.
Just as we saw with the EOS R50V, the grip is designed so that it's easy to hold the camera facing towards you, but with less to hold onto if you're behind it. The body feels pleasantly dense and solid, with the grippy rubber coating making it feel secure in the hand. But while it works pretty well from both sides of the lens, it's not as well optimized for conventional hand holding as a dedicated photo camera.
All the camera's control points are quite small, though, with the shutter button, its surrounding zoom lever and the exposure mode dial all looking as if they've shrunk in the wash. The little power button gets partially obscured if you fit the included mic wind screen into place.
One of the principal control points is the free-rotating dial around the lens. Its default function varies, depending on your mode (controlling aperture value in Av mode, for instance). The direction of its operation can be reversed, if you find that easier, when facing the camera.
There's also a small, rather fiddly dial around the four-way controller on the back of the camera. Its function can't be changed directly, but if you assign the front dial to a specific function, such as Exposure Comp or ISO, it takes on the function that the front dial would otherwise do.
The PowerShot V1 has both Mic and Headphone sockets, placed on the right flank, meaning they can't clash with the articulated screen mounted on the other side of the camera.
Below these are a USB-C and a Micro HDMI port.
There are two small camera strap points on either side of the body: a protruding lug on one side, a recessed bar on the other. Both are quite small, which will limit your choice of neck or wrist straps to those with very thin cords.
Battery
The V1 uses the relatively small LP-E17 battery, from which it achieves a rating of 340 shots per charge (400 in power saving mode). These numbers shouldn't be taken literally, as it's common to get twice the rated number, depending on your shooting style. But the numbers are broadly comparable between cameras and a rating of around 350 shots per charge will usually allow you to shoot for a good amount of time without having to worry about it.
The V1 can be charged over USB and, with a powerful enough USB PD power source, can record or stream video and charge, simultaneously (you'll need a battery in the camera to do this, though).
Memory cards
We found the V1 could be a little temperamental with SD cards. In principle, its highest video rate is the cropped 4K/60 mode, which uses a 230 Mbps average bit rate. This is just under 30MB/s so should be safely accommodated by a memory card with U3 or V30 speed rating (the fastest class of UHS I cards). In practice, we found we also needed to use the low-level format option in the camera if we wanted it to work reliably. We'd strongly recommend doing this if you notice that the V1 is taking a long time to write video or Raw files to the card.
In use: for vlogging
The PowerShot V1 essentially uses a cropped version of the sensor from the EOS R7. This means it can deliver oversampled 4K video from its full width at up to 30p but has to crop-in to a roughly native 4K region of the sensor to deliver 60p, with the crop factor shown in the table below.
Lens IS On / Off
Digital IS On
Digital IS Enhanced
Subj. track IS
4K up to 30p
1.00
1.11x
1.43x
1.43x
4K 50/60
1.43x
–
–
–
It also means its rolling shutter numbers are proportionate to those of the EOS R7: a fraction faster because it's using a smaller region of the sensor, but not dramatically different.
Interestingly, the rolling shutter rate in the standard 4K modes is slower than the mode used for whole-image electronic shutter in stills (23.4ms). We're not sure why this is.
Stabilization Off
Digital IS On
Enhanced / Subj. track IS
4K up to 30p
26.3ms
23.7ms
18.4ms
4K 50/60
15.9ms
–
–
All the 4K/24 and 30 modes are taken from the same readout mode: the decreased rolling shutter is accounted for entirely by the degree to which they're cropped. The 60p mode, meanwhile, is actually being read faster.
We generally consider rolling shutter rates below 25ms to be acceptable, those below 20ms to be good and those below 15ms to be very good. With the Powershot V1, if you're moving the camera it's well worth applying at least some degree of digital IS to make your footage smoother and reduce the rolling shutter rate a little. There's a noise and detail penalty to be paid as you crop in, but it's probably a worthwhile compromise.
The 4K/60 options disappear from the menu if you have any form of Digital IS engaged, which is worth being conscious of.
In terms of their intended effect, we found both IS modes to be very effective, with the basic digital IS letting you maintain a fairly steady handheld shot and 'Enhanced' doing a good job of handling more significant motion. There's also a subject recognition IS mode that applies a large crop so that it has freedom to move the capture area around to maintain your chosen composition, relative to a recognized subject.
We were also pleasantly surprised by the internal mics. The sound isn't as good as using an external mic but it's better than we've become used to, with these vlogging cameras.
In general, the V1 makes video capture fairly simple but there are a few quirks. 'Close-up Demo' mode, which over-rides face detection AF when you hold something in front of the camera is only available as a 'Scene' mode, so you suddenly lose control over things like mic volume and exposure. The same is true if you want to use the camera's skin-smoothing effect.
While we understand Canon wanting to make these functions easy to access, the fact you can only use them in a very limiting, highly automated manner means you lose any control over audio and white balance. To be truly useful, it should be available as an AF option for experienced users as well as a Scene mode for beginners.
In use, for photography
Although conceptually the V1 looks a lot like a wide-angle successor to the PowerShot G1 X series, its increased focus on vlogging seriously undermines its usability as an enthusiast compact.
The lack of a clicking front dial and the awkwardness of operating the small rear dial means it's not a camera that gives effortless access to, say, aperture and exposure comp. This is the same thing that stopped Sony's RX100 series from shining as enthusiast compacts, and meant instead they worked better as (superlative) point-and-shoots. The V1's added bulk means it doesn't rate so highly in that regard, either.
Add to this the insubstantial hand grip and slightly bulky body and you end up with a camera that, on paper, appears to have the capabilities of a high-quality wide-angle compact for photographers but that never delivers on the experience. The small buttons and awkward dials (of which only the front one can be customized), mean taking direct control is more fiddly than would be ideal.
Also worth noting is that you'll need to assign one of the camera's buttons if you want to position the AF point with anything other than the touchscreen.
The large sensor and ultrawide lens can deliver the goods.
Canon PowerShot V1 @ 16mm | F2.8 | 1/250 sec | ISO 100 Photo: Richard Butler
On the plus side, the V1 has a hot shoe, compatible with newer flashes or with older ones if you buy an adapter. Despite having a leaf shutter, the V1 has the same 1/400 sec flash sync speed limit as the G1 X III with external flashes: still good but not as flexible as being able to sync all the way up to 1/2000 sec.
Even those photographers who can live without a viewfinder or the capacity to add one are likely to find themselves fighting against the V1 to get the most out of it, despite all the promise. For some people, that wide range and large sensor, unmatched by any other compact, will make it worthwhile. But if you've used a previous G-X model, you'll be constantly reminded of what's been taken away.
This isn't the camera's intent, of course, but it's disappointing that a camera that sounds like it should double as a pretty adept photographers' compact isn't more engaging to use as one.
Image quality
Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.
Image Comparison
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As we suspected, the pixel-level noise performance of the V1 is very similar to that of the EOS R7, whose sensor is very similar, but with a consequent disadvantage of around half a stop, when compared at the whole-image level, because of its smaller active sensor area.
This puts the V1 comfortably ahead of Sony's ZV-1 Mark II vlogging compact, but behind its ZV-E10 II mirrorless vlogging camera.
Detail levels in the JPEG are good, but the Raw results suggest it's having to apply a fair amount of sharpening and contrast to get the results it's delivering.
Wide-angle performance:
Our studio scene isn't intended as a lens test chart but we thought it'd be interesting to see how it performs at its widest setting, too.
As we'd expect of such a small lens delivering an ultrawide field of view in front of a relatively large sensor, its design includes a significant amount of digital correction of geometric distortion.
However, despite producing an alarming-looking projection if you hack away that element of the lens design, the final results (derived from around 80% of the sensor area) are surprisingly good.
It's quite difficult to precisely align such a wide lens with our chart, which can undermine consistency between the four corners, yet despite this potential source of error, all four corners look pretty detailed. The far extremes get distinctly blurry but we were quite impressed by the performance for a retractable zoom that goes this wide.
And, of course, it's less of a concern for vloggers, where those extreme corners won't be used for the 16:9 output footage.
Conclusion
Pros
Cons
Very good image quality
Ultra-wide lens performs well
Lens still wide even with 4K 50 or 60p crop
Effective IS options
Grip comparatively effective, both sides of the camera
Strong feature set including ND filter, headphone socket, subject tracking stabilization and C-Log3 options
Built-in mics aren't bad, wind-screen comes in the box
Fan adds reassurance when recording video for longer periods
Relatively high rolling shutter figures
'Close-up' Demo mode offers very little control
Grip not optimized for photography
Fewer photo controls than G1 X cameras
Clickless control dial not ideal for discrete parameters
Fan adds bulk to camera
Small strap lugs limit wrist/neck strap options
Can be somewhat picky about memory cards
Smartphone App requires login
The Canon PowerShot V1 is an interesting addition to the vlogging market, with a larger sensor and wider lens than any of the currently available models. And, for now at least, it's also the closest we have to an ultra-wide-angle compact for photography. It's significantly better at one than the other.
As a vlogging camera the V1 is pretty capable, offering a good selection of features with good video quality and a relatively easy-to-use interface. The internal mics are no substitute for a good external mic but they're not terrible and the wind screen helps for outdoor work. More advanced users can attach their own and take advantage of options like C-Log3 capture, without beginners finding themselves too overwhelmed.
This balance isn't always perfectly struck: the 'close-up demos' scene mode works well for beginners but limits control to the point that users worried about matching footage or controlling the volume of an external mic can't really use it reliably.
As a photo camera, the V1 works less well. It can produce excellent images and its uniquely wide-angle lens will make it worth perservering with, for some photographers. But the small and rather limited controls mean it's not as fun or engaging a camera as the company's previous G-series compacts were.
This isn't the camera's main intent, and if you've been waiting for a compact with an ultrawide lens, that may be worth working 'round. But it's worth being aware that you may feel that you're having to coax something out of the camera it wasn't particularly designed to do.
As a vlogging camera its range of capabilities and ability to accommodate a range of users and vlogging styles earns it our silver award. It's a powerful piece of kit for getting your message out to the world.
Scoring
Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Canon PowerShot V1
Category: Enthusiast Large Sensor Compact Camera
Build quality
Ergonomics & handling
Features
Metering & focus accuracy
Image quality (raw)
Image quality (jpeg)
Low light / high ISO performance
Viewfinder / screen rating
Optics
Performance
Movie / video mode
Connectivity
Value
PoorExcellent
Conclusion
The PowerShot V1 is a capable vlogging tool that will support a wide range of vloggers and a wide range of vlogging styles. It's less compelling just for photos, but if you plan primarily to shoot video, it's pretty powerful.
Good for
Vlogging of all types
Not so good for
Photo-only shooters
84%
Overall score
Compared to its peers
The PowerShot V1's most obvious peers are two of Sony's ZV series of vlogging cameras.
The Sony ZV-1 Mark II is the most direct competitor, with is 18-50mm equivalent lens. That lens has an F1.8-4.0 maximum aperture, which sounds impressive next to the V1's F2.8-5.6 zoom, but if you factor-in sensor size, the difference is much less pronounced. The V1 is likely to perform around a third of a stop less well in low light and in terms of depth-of-field at the wide end, and around two thirds of a stop better at the long end. Its larger sensor should give it the edge in good light.
The Sony is a lot smaller than the Canon, its autofocus that bit more reliable and its 'product showcase' mode is more readily accessible and controlable. Conversely, we found the Canon's stabilization to be more effective than the Sony's, giving smoother output and being less prone to the distracting grab-and-release effect if you intentionally pan. The Canon also has a 4K/60 option, that the Sony lacks, making it our choice overall.
And, despite our reservations about the V1 as a photographers' compact, its larger sensor and wider lens make it a more appealing option, despite its significantly greater size.
The other real rival is Sony's ZV-E10 Mark II, a mirrorless camera built around an APS-C sensor. It's an appreciably larger sensor that's much faster to read out, and it has the same advantages in terms of autofocus. Its interchangeable lens design gives you more flexibility overall but means you end up with a larger camera/lens combination and a larger bill, as soon as you add something like the Sony 10-20mm F4 PZ G power zoom to approximately match the V1's range. Again, the V1 looks like a better-judged package, unless you specifically need an unusual lens, the attractive S-Cinetone mode or will benefit from its less-cropped, higher quality 4K/60 capability.
As a stills camera the V1 also out-points the ZV-E10 II, as Sony has omitted to include a mechanical shutter or physical stabilization: features you need to move up to the a6700 to gain.
Much as we were left cold by the V1 as an enthusiast compact, it is essentially your only option if you're looking for something plausibly pocketable with decent image quality and an ultrawide lens, it's essentially the best option purely as a consequence of being your only option.
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Sample gallery
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Image: Tamron
Tamron has announced the 16-30mm F2.8 Di III VXD G2, a wide-angle full-frame zoom lens for Sony E mount and Nikon Z mount. It slots into the company's fast zoom lineup alongside its 28-75mm and 70-180mm F2.8 G2 lenses.
Tamron says the lens is a sequel to its 17-28mm F2.8 Di III RXD from 2019. Compared to that lens, the G2 obviously has a slightly wider zoom range and includes updates to the autofocus system. The older model used a stepper motor, while the new one uses the company's "VXD" linear motors. There's a single customizable function button.
The body is also moisture-resistant and includes a USB-C port that you can use to connect it to Tamron's lens customization software. The lens has a 67mm filter, the same as Tamron's 28-75mm and 70-180mm F2.8 lenses.
Optically, the 16-30mm F2.8 Di III VXD G2 has 16 elements in 12 groups and a 9-blade aperture that Tamron says is "almost perfectly circular up to two stops down from" its max setting. At the wide end, it has a minimum focusing distance of 0.19m (7.5"), and at the long end, it can focus on objects as close as 0.3m (11.8"), giving a maximum reproduction ratio of 1:5.4.
The lens will retail for $929; that's $30 more than the previous model, though given the extra range and faster autofocus system, that's hard to complain about. It will be available for E mount on July 31 and for Z mount on August 22nd.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
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Press release:
TAMRON Completes the G2 Trinity, Announces Ultra Wide-Angle 16-30mm F/2.8 Di III VXD G2 Zoom Lens for Sony E-mount and Nikon Z mount Full-frame Mirrorless
July 1, 2025, Commack NY – TAMRON Americas announces the launch of the 16-30mm F/2.8 Di III VXD G2 (Model A064), an ultra wide-angle lens in two full-frame mirrorless camera mount: the Sony E-mount will be available on July 31 and the Nikon Z mount on August 22. Both mounts will retail for $929 USD.
Expanding upon the success of the highly acclaimed TAMRON 17-28mm F/2.8 Di III RXD (Model A046), the 16-30mm F/2.8 Di III VXD G2 (Model A064) emerges as an advanced G2 (second-generation) model. While broadening the zoom range, the lens maintains a compact, lightweight design and delivers exceptional image quality. In addition, it features improved autofocus performance and has been updated to the latest lens design, enhancing overall operability. The lens is also compatible with the TAMRON Lens Utility™ that lets you customize practical functions for both photography and videography. Retaining the mobility and versatility of its predecessor, the 16-30mm F2.8 G2 unlocks new creative possibilities.
With the release of the 16-30mm F2.8 G2 ultra wide-angle zoom, the fast G2 trinity, "Daisangen1" is now complete2, alongside the standard zoom 28-75mm F2.8 G2 (Model A063) and 70-180mm F2.8 G2 (Model A065) telephoto zoom. Together, these lenses cover the extremely versatile 16mm to 180mm range, making them ideal for virtually any scene. Experience the perfect blend of performance and functionality, making professional-level photography more accessible than ever.
Product Features
Expanded Field-of-View unlocks new possibilities in landscape, astro, and everyday photography
Lightweight, compact, and built-for-mobility design makes it perfect for travel and video content creation
Exceptional optical performance with high resolution captures the finest details of landscapes and architecture, and renders beautiful bokeh
High-speed, high-precision VXD AF quietly captures the action
Versatile close-up feature is ideal for tabletop and indoor shots
Protective features (Moisture-Resistant Construction and Fluorine Coating)
1 The term "Daisangen" originates from the game of mahjong, where it refers to a winning hand made by collecting three sets of dragon tiles. Drawing from this concept, the photography industry uses the term "Daisangen lenses" in Japan to describe a set of three zoom lenses—a wide-angle, a standard, and a telephoto—all featuring a constant F2.8 aperture throughout their zoom range.
2 For Nikon Z mount, available only with 16-30mm F2.8 G2 and 28-75mm F2.8 G2 as of June 2025.
The already leaked Tamron 16-30mm f/2.8 Di III VXD G2 lens for Nikon Z and Sony E mount is now officially announced and available for order at B&H Photo.
Additional information on the new lens can be found here:
Connexion
